The thing I learned from a lifetime of oil painting...is that art is in the eye of the beholder, truly. Critique used to have a place in art, but is largely misunderstood now...somehow the UA-cam generation got the idea that not liking something is a critique. That's not how it works at all. The second big lesson from those 30 years...modern critique is really just someone telling you their preferences, it almost never touches on actual design principles. So what does all that mean? Make the art that **you** want to make...there will always be haters, there will always be fans...and none of it matters unless *you* love what you make. Just my two pennies. Great video, very insightful for someone new to the art form as a creator.
I'm onto my second short film using a gimbal, mainly because the bmpcc OG has no stabilisation, but it really allows you to do everything a big production does. Push in, pull out, slider, tracking, low angle, high angle and mad weird angle. A wee bit of stabilisation in post and boom, you got epic smooth and interesting shots.
Hello, I'm Just wondering what settings you have while shooting and is that Slog3? I love the color and the music tho, Great Job! Can you share how you shoot and the right exposure settings that you used?
I use autofocus wide for most of my scenes and have a toggle button on my camera that quickly turns on and off AF and MF when there's lots of movement!
All pieces of gear have their time and place. As a wedding videographer, I want to vomit every time I see someone filming an entire wedding on a gimbal because the final product comes out looking like the same shot over and over and very unintentional. What makes makes experience. Filmmakers is knowing how to use each piece of gear for each shot to convey a certain emotion to tell a story, whether that's a tripod, handheld, a gimbal, monopod, a dolly, etc.
Agreed, I should have mentioned the importance of handheld and diversity. Every time I shoot on my gimbal, I think about how I can use a handheld to offset the smoothness and better immerse the audience in the feeling. That said, a golden rule should be never to shut your creative brain off and follow a formula, that's when art become stale.
I must be the only video producer that uses side handles (dual grip handles) on a gimbal. A left and right handle allow my hands to sit about 6 inches to either side of the Gimbal body. I have never seen anyone use the dual grip handle apart from myself.
I do all the time, and most of my gear is setup for it too. For example the Tilta waist harness system uses light weight dual grips with attach points into some shoulder straps. I also use a DJI’s dual grips, with a small rig modded control handle when operating from my easy rig. Dual grips are the best way to get your mass and movement further away from the gimbal’s center mass design.
Sorry this video didn't help. It's to inspire those who can't afford mirrorless. And coming from someone who's used both on bigger productions, the two work well together.
That was true but things have changed, biggest reason was RAW recording and DR. Now the gap has almost gone. There are now a lot of movies that has been shot fully or partly on mirrorless cameras like sony FX6, FX3 etc. Also cinema cameras are getting smaller, trying to get to the size of a "potato". Also there are netflix certified mirrorless cameras like Panasonic S1H so there is nothing stopping you to using one to shoot entire feature film. Like: The Creator..
Adding to the RAW comment, a lot of commercials use mirrorless, and they use these kinds of movements to tell better stories. Also mirrorless can be an amazing b or c cam when paired up with much more robust cinema systems, I’ve been using a c70 to shoot B cam with an Alexa Mini for several years now - using the c70 specifically as the gimbal or rigging camera. The “right gear” isn’t a real barrier to entry in the field anymore, even my old Grip House keeps an entire isle of Aperture lighting on hand because it gets used all the time!
@@MrMoviePhoneEx c70 has 16 stops of DR and the image what you can get from it is just beautiful. You can put it with any camera out there and no one knows better.
The thing I learned from a lifetime of oil painting...is that art is in the eye of the beholder, truly. Critique used to have a place in art, but is largely misunderstood now...somehow the UA-cam generation got the idea that not liking something is a critique. That's not how it works at all. The second big lesson from those 30 years...modern critique is really just someone telling you their preferences, it almost never touches on actual design principles. So what does all that mean? Make the art that **you** want to make...there will always be haters, there will always be fans...and none of it matters unless *you* love what you make. Just my two pennies. Great video, very insightful for someone new to the art form as a creator.
You are so right; thank you for sharing this. Make the art that you want to make.
I'm onto my second short film using a gimbal, mainly because the bmpcc OG has no stabilisation, but it really allows you to do everything a big production does. Push in, pull out, slider, tracking, low angle, high angle and mad weird angle. A wee bit of stabilisation in post and boom, you got epic smooth and interesting shots.
I totally agree. It's a game changer for short films, feature films, and documentaries. I use mine more than i probably should.
@ZachRamelan yeah me too tbh, I probably need to get a tripod or a slider out occasionally so I'm not just Mr Gimbal Man!
Interesting, love your informative videos.
love this
love you!
Hello, I'm Just wondering what settings you have while shooting and is that Slog3? I love the color and the music tho, Great Job! Can you share how you shoot and the right exposure settings that you used?
8:30 How do you focus the shot in this scene? MF or AF (zone, wide, tracking..)
I use autofocus wide for most of my scenes and have a toggle button on my camera that quickly turns on and off AF and MF when there's lots of movement!
@@ZachRamelan Thank you for answering my asking:)
This is great. Do you have a link for your gimble setup?
Yes, It's part of my course! Link to the masterclass in the description!
Glad to see another Toronto-based Filmmaker make their mark in the industry!! Also, what gimbal did you use in this video?
All pieces of gear have their time and place. As a wedding videographer, I want to vomit every time I see someone filming an entire wedding on a gimbal because the final product comes out looking like the same shot over and over and very unintentional. What makes makes experience. Filmmakers is knowing how to use each piece of gear for each shot to convey a certain emotion to tell a story, whether that's a tripod, handheld, a gimbal, monopod, a dolly, etc.
Agreed, I should have mentioned the importance of handheld and diversity. Every time I shoot on my gimbal, I think about how I can use a handheld to offset the smoothness and better immerse the audience in the feeling. That said, a golden rule should be never to shut your creative brain off and follow a formula, that's when art become stale.
Should we turn off in camera stabilization when using gimbal?
yes otherwise video will have wobble effect.
I must be the only video producer that uses side handles (dual grip handles) on a gimbal. A left and right handle allow my hands to sit about 6 inches to either side of the Gimbal body. I have never seen anyone use the dual grip handle apart from myself.
Would love to see your set up!
I do all the time, and most of my gear is setup for it too. For example the Tilta waist harness system uses light weight dual grips with attach points into some shoulder straps. I also use a DJI’s dual grips, with a small rig modded control handle when operating from my easy rig. Dual grips are the best way to get your mass and movement further away from the gimbal’s center mass design.
Are these moves possible with the original Ronin-S?
most of them minus the FPV mode!
awesome
Do you realize most of big productions do not use mirrorless right ? so I don't understand who is that video for ?
Sorry this video didn't help. It's to inspire those who can't afford mirrorless. And coming from someone who's used both on bigger productions, the two work well together.
That was true but things have changed, biggest reason was RAW recording and DR. Now the gap has almost gone. There are now a lot of movies that has been shot fully or partly on mirrorless cameras like sony FX6, FX3 etc. Also cinema cameras are getting smaller, trying to get to the size of a "potato". Also there are netflix certified mirrorless cameras like Panasonic S1H so there is nothing stopping you to using one to shoot entire feature film. Like: The Creator..
Adding to the RAW comment, a lot of commercials use mirrorless, and they use these kinds of movements to tell better stories. Also mirrorless can be an amazing b or c cam when paired up with much more robust cinema systems, I’ve been using a c70 to shoot B cam with an Alexa Mini for several years now - using the c70 specifically as the gimbal or rigging camera. The “right gear” isn’t a real barrier to entry in the field anymore, even my old Grip House keeps an entire isle of Aperture lighting on hand because it gets used all the time!
@@MrMoviePhoneEx c70 has 16 stops of DR and the image what you can get from it is just beautiful. You can put it with any camera out there and no one knows better.